"Always remember that you haven't fully experienced a book until you open its jacket. Interior Relations is an outstanding example of this. Its publisher, photographer Richard Renaldi, is a big book fan; the small handful of books released by his indie imprint pay close attention to design (issuing from Andrew Sloat) and to the physical experience of reading. Thus, a Charles Lane Press issue, like that from most quality photobook publishers, begs attention as a sculptural, signifying object, influencing and reiterating the implications of the photographs it carries."—George Slade

"Photographer Jona Frank worked with Patrick Henry students between 2006 and 2008, photographing them in their dorm rooms, at school functions, against the backdrop of the Virginia countryside, and in some cases at home with their families... It is unlikely that Frank's book will ever be used as a recruitment tool for PHC, but readers will receive a worthwhile immersion into what Hanna Rosin describes in the introduction as a 'corner of the culture that seems so strange and yet so central to the times.'"—Charles Dee Mitchell

"Diodato, as he notes in his book, is not the first person to explore this space. In 1976, photographer Mary Ellen Mark documented (in black and white) not only the ward, but also the women who dwelled in it. The ghosts of the women once photographed by Mark haunt Diodato's images. But, if Diodato created Care of Ward 81 in response to Mark's book, he did so in a different language. Mark documented the women, as they existed in the same space at the same time, while Diodato positioned the location as his subject, examining a space separated from its active time. Additionally, Diodato adds a hint of commercialism to his images. His bright colors offer an ironic upbeat lift to Mark's sharp, yet nostalgic, black and white imagery."—Rena Silverman

"Paradis collects images from a number of Dumas' projects, including her sold out book Heart Shaped Hole. It opens with a few portraits of dogs, soft and low lit, leading into two of Dumas' series of horses, the first of many well-sequenced and surprisingly natural transitions between projects centered on different species. The first equine image depicts a horse in an oddly vulnerable position, lying down, back to the camera, creating a striking parallel to an image of a German Sheppard a few pages prior. Moving through these images, we are left with an overwhelming sense of an inner life behind the eyes of these creatures, but as the book progresses the animals depicted grow more wild — from domesticated dogs and horses, to strays, to wolves, and here the expressions become more inscrutable."—Sarah Bradley